#also the lyrics. what was that 😭

[cerasus--flores]

oh btw mewtuals what do we think of hold it down

[laylakeating]

IT'S ALL OVER NOW, ALL OUT TO SEA. @thetroubletones, i love you!

[painted-bees]

babes, wake up, Saint Motel just dropped a new bop

[chandralia]

remember when they tried to argue that the ending song wasn’t about bkdk

[paintedbandshirts]

Once again starstruck by the beauty and intensity of louis’ eyes✨

Drawn in prismacolour coloured pencils || Inspired by this post x

Now available on my etsy✨

[kinglyyato]

"I'll gladly take her place if you let me, make this my last request...God please, don't take the girl"

[gothsuguru]

starting my curator!geto fic officially now! <3

[rubywingsracing]

Got an abdominal feeling this life isn’t mine

I’m trying so damn hard to make it out alive

But I think I might die

I’m just a kid so please treat me like it, I’m trying my best do you see it

Feels like do or die will you be by my side,god pls tell me you’ll be by my side

If it all goes to shit and I lose me grip will you still hold me right through it

Will I still be enough to keep you hanging round can you say it now

Promise me you’ll love me when it ENDS…

I’m just a kid so please treat me like it

Song: When It Ends by BIZZY

[sunburnacoustic]

@origin-of-symmetryy's poll about the Muse album closers got me thinking (and frankly, the addition under their poll was getting ridiculously long, and so I've decided to make a new post), Muse are really good at album closers. Really good. Of course, the order of songs on an album is something most musicians will spend some time thinking about, but usually outside of concept albums, what songs close the albums don’t really matter as much. Sometimes they’re coincidentally great; the best of the album closers are ones that will leave you sitting in silence for a minute just thinking about what you’ve just heard. (There’s an English band called Yard Act who closed their debut album The Overload with, “It’s not like there’s gonna be nothing, is there?” And then there's silence; the album's over. And the whole song itself was in short, about humanity and people being people, and so I did sit and think about the album for a minute, it was great.)

Muse are like that. Their album closers are really meant to be closers. It's almost like their shows: the albums are paced out in such a way that you're being taken on a journey listening to them, and you're not just going to have all the energetic stuff at once, and you won't just have the chilled out, relaxed or downtempo songs in one lump. We've all definitely marveled right here on Museblr about the transition on Absolution from Hysteria -> Blackout -> Butterflies & Hurricanes. Those are not exactly similar songs, but Muse know how to make it work.

All this is to say, Muse certainly know how to bring the rollercoaster down to a stop at the end of an album, both musically and emotionally/thematically. Think of Megalomania, Ruled by Secrecy, Exogenesis Symphony, Isolated System, Drones, The Void, even Glorious if you're willing to consider the extended version of BHAR. Musically, they're a bit more chilling, emotionally usually less settled, kinda despondent, they seem to almost close with a message of 'it's all kind of messed up. It doesn't matter, you see? They're fucked up. We all are.' Or 'See? That's how everything goes wrong' (depending on which album you're listening to).

The only album I would say does not seem to have a thematic intention behind it is Showbiz, but Hate This And I'll Love You does have a certain grandiose element to its outro that makes it a perfect show closer; the brash little bow taken at the end of what they know is an album well done. Thematically I can only surmise: 'try hating this. We dare you to. You see the current musical landscape? What do you think of it? We are Muse. We are about to change everything; destroy the status quo. Stay tuned.'

To my mind at least, here's how the other album closers relate to the themes of the records: Origin of Symmetry is partly about human connection, observed through its relationship to technology (New Born, Screenager, Plug In Baby), occasionally religion (Hyper Music, Megalomania, or sometimes mysticism.

Throughout the album, Matt has explored themes of becoming distant from other people, loneliness, reliance on technology (and erm, sex robots I guess), paranoia, love, hope, the feeling of being perceived. Megalomania seems to come down from the heightened emotions, whether negative or positive, turns despondent and challenges a God about why people should even bother going through it all: why love? Why trust? Why procreate and restart the whole cycle again? It's bringing it all back down to earth to close out the album. And of course, musically too, that song sounds pessimistic. Come on.

Absolution: Matt and Dom have talked about how this album was less about actual religion, but more about their own personal absolutions: freeing themselves through music. The religious themes are allegorical, the album's motivations are more existential, personal and heightened emotionally: we're dealing with themes of self-worth, paranoia, relationships, and more of that search for meaning that we saw glimpses of in Origin Of Symmetry.

At the end of it all comes Ruled By Secrecy, with the protagonist realising that no matter how hard they try, a lot of their own life is beyond their control. Despite all the hopes, fears, anxieties about who you are, your future and your own death; no matter how hard you try to fight it, it is out of your power, and no one knows who's in control. A final fight-or-flight at the end of the album that concludes, it doesn't matter. There's nothing you can do. Can't fight it. And of course, that dark, echoing, reverb-drenched piano arpeggio is haunting and will linger in your mind well after Dom's last cymbal crash.

Black Holes and Revelations: Look, I think the human spirit and connection is such a central theme to Matt Bellamy's writing that I ought to stop mentioning it because here too I will go 'ditto'. It's the human emotional spectrum: love, loss, anxiety, needing control of your life, loneliness; but this time explored through the lens of politics, of conspiracy and paranoia, extraterrestrialism, but drawing those connections back to feeling alienated rather than literal alien stuff (save that for the interviews ;) )

I think Knights is definitely a change in direction from Muse's previous few closers in that there's no way you could call it downtempo, but it works for the same reasons that it is Muse's staple set closer: it goes out on a high. It acknowledges how real our fears are, but also how silly they can seem spoken out loud (or, say, sung out loud on a record or in concert with 90,000 people), and says, you know what. We can still wear silly hats and boots, play space cowboy riffs and sing anthems about it. (I know this is not the exact meaning of the song, but that's the meaning I get from it being placed at the end of the album, if you see my distinction). Glorious, on the other hand, is a more classic mellow Muse album closer (and would've definitely worked too), but more optimistic and taking comfort in love. Still as much of a full-stop as any previous closers. See when I say this is a band that knows what an album closer is!

The Resistance: Muse's dystopian thriller, 54 minutes of exploring the personal in the context of the global, set against a backdrop of strife, tensions, big ideas about the geopolitics of the world, and of course, a reflection on the books and media Matt had consumed around the time of this album. Against this backdrop, Exogenesis Symphony seems to run parallel to the album itself, a 3-part story exploring the hubris of thinking that the only way of saving humanity from all its problems was the nuclear option (figuratively): to begin life on a new planet, only to conclude that we're doomed to repeat our old habits and fail, hinting that our only real chance is to band together to save ourselves and what we have right now. Muse would go on to employ a similar 'parallel what-if' storyline later too on The Globalist. Anyway, for ending with a message insinuating peace as the only option to avoid destruction, that's a classic Muse album closer.

The 2nd Law: Matt turns his eyes to environmental and existential anxieties, while placing the blame squarely at the feet of greed and capitalism, presented through a physics metaphor for an economic situation: just as the 2nd law of thermodynamics states that entropy (or general instability) of an isolated system is always increasing, an economic system building itself on endless growth becomes more unstable. (And as the first law states, perpetual motion, or growth, is impossible, and hence unsustainable in the long run). How anyone was surprised that this exactly was Muse's first album in the aftermath of the global financial crisis is beyond me.

An interesting mix of the electronic and 'real' elements on this album at a time when the debate about rock and guitar bands using electronic instruments was rife, it's interesting to me how some of the most overtly electronic songs on this album (Madness, Follow Me) also happen to be the most personal ones Matt wrote, while his rawness is reserved for his environmental angst: Animals, Explorers, to an extent Survival, when seen outside the Olympic light.

The two 2nd Law tracks flip that script of course, and the contrast between them (one heavier, the other much more understated) does kind of reflect what they're about, but the cold, chilling nature of Isolated System? Easy to see why they picked it as a soundtrack to play repeatedly under an apocalyptic film (which is still extremely diluted from the book, which does encompass more themes of a bio-ecological disaster than the film). It does return to Muse's tried and tested album closer formula of finishing the album with a haunting piece of music that will leave you thinking about the album you've just listened to, slightly unsettled.

Now, Drones! An album exploring the pitfalls of artificial intelligence in the military sphere, on the surface about warfare, but underneath, a much more human and emotional journey undertaken by a protagonist not to lose their human spirit, their sense of what is right and will to stand up for their rights. A mix of the personal and political. Muse's first explicit concept album.

The song Drones delves into the dystopia, separate from the timeline of the album where the protagonist (Mary) freed themself, returned home to their loved ones, stopped being an emotionless drone and discovered love again, only to retire away from all the pain in order to heal. It's a proper summariser of a track, and so a fitting album closer: you don't need to look your victims in the eyes anymore, you don't have to fight your own sense of decency and humanity: 'now you can kill from the comfort of your home with drones'. I also think having many Matt voices with none of them ever taking the role of lead singer is a sly little summary of the album too: you're all just voices in the choir, you can't tell any of them apart. You're faceless. But I suppose, also the fact that you're able to discern meaning from this chorus of voices that is not always singing in unison, that conveys the strength of working together to overcome adversity? All album themes. Anyway, any song that closes the album with 'Aaaa-men.' is a proper album closer, cheers Matt!

Simulation Theory (standard version, because the deluxe doesn't have new songs, just other versions of the existing ones): the darkness has finally lifted from Matt's life. Bouncing back from the album meant to convey emotional deadness (and Matt's breakup album), Matt's found love, robots and nostalgia, and by god he was going to make it known! Even through the sci-fi, this album is still exploring the ramifications of the AI powering decisions that impact all our lives: this album explores the consequences of algorithms, social media and peer pressure, spreading misinformation and chaos, but also the humanity that connects us all that the computers can never really nail down. That's where the album closer The Void comes in: statistical modelling may have you believing that everyone is just a number to fit along a neat mathematical line, that anyone outside the norm is unaccounted for, erased, alone, estranged; that individual people cannot have an impact: they're wrong. Just for that line, this is a cracker of a closing song. Ending with Matt's now-trademark hope, belief in humanity and optimism. And yes, yet another emotional, downtempo Muse album closer that'll leave you thinking and feeling things for a while.

Will Of The People: Now this one is so interesting to me. On an album exploring the current landscape: near-apocalyptic scenes in terms of the environment, global public health, economy, civil unrest and failures of public leadership, only a Muse album could really do the scene justice. So where does We Are Fucking Fucked fit in? It's so different from traditional Muse album closers. Where's that optimism and fighting spirit Matt says he simply cannot write without? I don't think I can say it better than Matt's said it himself:

[W]henever someone creates a film or a book that ends on a sort of tragedy of some kind, or ends on something bad, what happens is, it leaves the viewer or the listener in a state where they can’t help but feel compelled to do something about creating an equilibrium that isn’t there. When I was studying films briefly, that’s what someone told me: If you wanna do something where you leave it to the actual person who’s watching or reading or consuming the art… if you leave them in a state with an unhappy ending … they can walk away from it and go, “Maybe I need to do something about this.” So that was one of the reasons why I put “We Are Fucking Fucked” at the very end. Hopefully people come away from it and go like, “Well, are we? I don’t know about that. Maybe I’ll do this…”

And what did lie at the end of the album? A Muse concert? Perhaps something bigger: a real-life push for justice and peace? I love the concept of WAFF as an album closer, that's a brilliant concept.

What do you guys think?

[realboutfatalfury]

made lyrics for the mola mola game main theme and made gumi sing them ^_^

lyrics under the cut if you want to see them >_<

dear mola mola my darling best friend hope this feeling won't end

the ocean shines brighter when you're with me oh it fills me with glee

oh dear my sweet sunfish sunbathing in the sea

oh dear my sweet sunfish you mean so much to me

my sunfish i want to be here next to you

sweet sunfish i'm hoping you feel the same way too

oh mola stay right here with me

my mola please don't leave me

dear mola mola my darling best friend ah this feeling might end

my mola mola means so much to me scared he's going to leave

oh dear my sweet sunfish swimming so happily

oh dear my sweet sunfish you still fill me with glee

ah sunfish i hope you won't stray far from me

my sunfish i know someday you're going to leave

but right now just stay here with me

my mola please don't leave me

[its-tortle]

you don't need to save me

[frozen-orbit]

Nova and Adrian as some out of context Taylor Swift lyrics

Nova:

There's no time for tears, I'm just sitting here planning my revenge.

She's not a saint and she's not what you think, she's an actress.

Wasn't it beautiful runnin' wild 'til you fell asleep, before the monsters caught up to you?

I'll never let you go 'cause I know this is a fight that someday we're gonna win.

What would you do if I break free and leave us in ruins?

They think she did it but they just can't prove it.

Is it you? Or have they come to take me away?

I am what I am 'cause you trained me. So who's afraid of me?

They said "babe, you gotta fake it 'til you make it" and I did.

For a cruel fraternity I pledged and I still mean it.

I hate it here so I will go to secret gardens in my mind.

Adrian:

Just look what I created. I came out alive, but I'm black and blue. Before you ask me if I'm alright, think about what I had to do.

Is this in my head? I don't know what to think.

You never know what people have up their sleeves.

Something in his deep brown eyes has me singing he's not all bad like his reputation.

I’ve learned the lesson that stressing and obsessing about somebody else is no fun.

When you are young they assume you know nothing.

It must be exhausting always rooting for the anti-hero.

I'm on my vigilante shit again.

And there you are sitting as usual with your golden notebook.

Nodrian:

Nova pov:

-> My hands shake, I'm not usually this way but you pull me in and I'm a little more brave. It's the first kiss, it's flawless, really something. It's fearless.

-> You learn my secrets and you figure out why I'm guarded.

-> I would lay my armor down if you'd say you'd rather love than fight.

-> Touching him was like realizing all you ever wanted was right there in front of you.

-> I know that you like me and it's kinda frightenin'.

-> I'm reachin' for you, terrified, 'cause you could be the one that I love.

-> I don't remember who I was before you painted all my nights a color I've searched for since.

Adrian pov:

-> Now I'm slidin' down the wall with my head in my hands, sayin' "how could I not see the signs?"

-> Maybe this thing was a masterpiece till you tore it all up.

-> Meet me there tonight and let me know that it's not all in my mind.

-> Maybe I don't quite know what to say, but I'm here in your doorway.

-> If it's all in my head tell me now. Tell me I've got it wrong somehow.

-> I made you my temple, my mural, my sky. Now I'm begging for footnotes in the story of your life.

-> I can't make it go away by making you a villain.

-> Were you sent by someone who wanted me dead?

[plutos134340]

God i love songs that dont curse a lot, but when they do, its always in the most perfect place

[ssaturnsapphic]

swifties kinda up there with the worst fandoms ever

[linagram]

i had thoughts

[eeblouissant]

do you ever find a song that reminds you so violently of a favourite character that you kind of just like. freeze there once the realization hits

so anyway I found a new Dorothy song and I’ve paused everything I was doing to talk about it because. oh my god. come cry with me.

Flowers by Marina, here’re the lyrics:

obviously I’ve related this back to her marriage with/& divorce from stan, but I feel like this song really encapsulates how easy it is/has been for Dorothy to fall right back into his arms at the slightest show of affection, regardless of how far along she is in her own healing journey, and how awful she knows he is. “And it’s most tempting to give in when you hear the firin shots, when you’re steps from winning back all the happiness you lost.”

She’s very weak to emotional temptation, it’s one of her biggest character flaws. It doesn’t take much to convince her to do something she has already been yearning for even slightly. (I could connect this back to her recovering gambling addiction on so many different levels but thats another post entirely, and kind of self explanatory) ie: the episode stan takes a wife, where he shows affection for Sophia in crisis, keeps dorothy company, and now - regardless of the fact that she’s about to ruin a planned wedding and that, stan is stan - dorothy is determined to take stan back and completely convinced that he wants her back, too. We see dorothy in a similar situation with stan in season one also, to a little bit of a lesser extent. There are so many big and small examples of this that it would be impossible to name them all individually, but I think the examples involving stanley are most relevant here. oh god, not to mention the time they almost actually get married again … spare me. Eventually, everytime, when he proves once again to be the asshole that cheated & left her, she comes to her senses. But oh my god sometimes it just takes so much for her to see that someone is bad for her. “–but I would rather not, betray myself, just to keep your love at any cost”

Sophia comments on this flaw once or twice in canon too (OUCH, BTW.) and it just … dorothy is always so defensive. girl your mother is correct I fear!!!

“If you’d just bought me flowers, maybe I would have stayed”… the slightest show of affection would have kept her there with him for even longer, I’m so sure of it – thank god he stayed gone for as long as he did. Should have been forever!!!!!!! she had been slipping away from him since day one.

Do I even need to start talking about “and now my future gleams with colours bold and bright, in a home that’s filled with love and hope and a life that just feels right.” PLEASE. PLEASE… I’m so fragile …… please … I feel like this one speaks for itself. And right after a line that so perfectly describes her home life while married to stan? I’m not well oh my god this is sick